Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text provides a technical manual for the Hevajra sādhanā known as the Pristine Vajra Lamp. It functions as a precise guide for the practitioner to transition from preliminary ritual preparations to the realization of the ultimate nature of reality. The work integrates complex visualizations of the maṇḍala, the deployment of wrathful deities to subdue obstacles, and the manipulation of subtle bodily energies and breath. By combining the external ritual of offerings and mudrās with internal meditative absorptions on emptiness and non-conceptual awareness, the text commits the reader to a rigorous path of transformation. The goal is the unification of insight and method, leading the yogi to identify their own nature as the dharmatā (nature of reality) and the Lord of the Mandala, thereby transcending ordinary human perception and the constraints of the three realms.
Provenance
About this text
A clear explanation of the complete purity relying upon the generation stage, the Hevajrasādhanasya ṭippaṇīśuddhivajrapradīpanāma is a work of classical Tibetan Buddhism. It is attributed to the Indian author Jālandharipāda. The text was translated into Tibetan by Paṇḍita Mañjuśrī and lo tsa ba nyi ma rgyal mtshan dpal bzang po, and it is preserved in the Tengyur, volume ཉ, where it comprises 47 pages within the Non-dual Tantra collection. In the Tibetan tradition, it is known as the kye rdo rje'i sgrub thabs kyi mdor bshad pa dag pa rdo rje sgron ma zhes bya ba. The work enacts a path of transformation for the practitioner who has pleased the authentic guru and entered the maṇḍala of the glorious Hevajra. It argues for the necessity of remaining in a state of absolute one-pointedness to discard attachment and attain the wisdom of suchness. By detailing the attainment of the mudrā and the path of wisdom, the work serves as a technical guide for those seeking to fulfill the hopes of sentient beings through the unification of insight and method, ultimately allowing the yogi to transcend ordinary perception and identify their own nature as the dharmatā.
Sanskrit title
Hevajrasādhanasya ṭippaṇīśuddhivajrapradīpanāma
Indian author
Jālandharipāda
Tibetan translators
Paṇḍita Mañjuśrī, lo tsa ba nyi ma rgyal mtshan dpal bzang po
Cite thisAnuvāda, “A Concise Explanation of the Hevajra Sādhana called “The Pristine Vajra Lamp”” (Toh 1237), machine draft, 2026.https://naxiai.com/tibetan/works/toh1237
Summary & commentary
Significance
The work is significant as a representative of the Hevajra tantra tradition, illustrating the sophisticated intersection of deity yoga, subtle body energetics, and Madhyamaka-influenced views of emptiness. For the modern reader, it provides a primary example of how Indo-Tibetan ritual technology is designed to systematically dismantle ordinary cognitive constructs.
Structure
Passages
Section
Description
1-12
Preliminary Rituals and Visualizations
Covers homage, the role of the guru, the invitation of offerings, and the visualization of wrathful deities and the charnel grounds.
17-38
Meditative Theory and Insight
Discusses the nature of the factors of awakening, the power of mindfulness, and the perception of emptiness across various states of consciousness.
43-63
Advanced Energetic and Deity Yoga
Details the transformation of bodhicitta, the visualization of the maṇḍala inhabitants, breath control, and the final identification with the nature of reality.
Themes
Emptiness and Non-conceptualization (1, 3, 6, 27, 38, 61)
In the language of India: Hevajrasādhanasūpikavajrapradīpanāmatippaṇīśuddha. In the language of Tibet: Kye rdo rje’i sgrub thabs kyi mdor bshad pa dag pa rdo rje sgron ma zhes bya ba. Homage to the glorious Hevajra!
I prostrate at the feet of Hevajra, whose nature is free from conceptual construction. Relying upon the generation stage, I shall provide a clear explanation of the complete purity.
First, the thirty-two points of the sādhana-sūtra will be stated: the wheel of offerings; the four brahmā abodes; the supreme and the coemergent; one’s own chosen deity; the protection wheel; the visualization of emptiness; the charnel grounds; the celestial mansion; the causal maṇḍala; generation through melting; arising; the placement of deities; the nature of hatred; the emanation; the wisdom wheel; the conferral of empowerment; the sealing; the tasting of nectar; the benefit of beings; the six branches; the clear light; the arising; the recitation of mantra; the reality of the torma; the subtle yoga; the two armors; the two placements; walking; eating; conduct; sleeping; and rising again.
These thirty-two points of the sādhana-sūtra are the complete purity of the marks of a great being. First, regarding the yogi who possesses the intelligence striving for the benefit of sentient beings: "first" refers to the very beginning. "Yoga" refers to that which desires the union.
One who desires to fulfill the hopes in the minds of sentient beings is one who possesses the intelligence that strives for the welfare of sentient beings. Having pleased the authentic guru, the venerable one, and having entered the maṇḍala as taught in the glorious Hevajra according to the ritual, means that by remaining in a state of absolute one-pointedness, one completely discards attachment to the body and pleases the guru with an authentic mind. To know the pith instructions of the authentic guru’s oral advice is also to know the authentic guru, the venerable one. When he is pleased, he will lead them into the maṇḍala as taught in the Hevajra according to the ritual. Thus, it says, "having entered the maṇḍala as taught in the glorious Hevajra."
"Having conferred the empowerments in the proper sequence" means from the water empowerment and so forth, up to the culmination of the wisdom-gnosis empowerment; this is what is meant by "having conferred the empowerments in the proper sequence." "Having granted the authentic authorization" means that after the empowerment, the tantra is taught by providing the instructions as they were shown. Having recognized the disciple as a suitable vessel for their benefit, one should clarify the reality of the supreme joy, the joy of separation, and so forth, and teach by explaining the meaning of the words in another way; this is "having granted the authentic authorization." Following that, the practitioner who has received the authentic authorization should practice according to the sequence to be explained, until the mudrā is attained.
"Attaining the mudrā" means having attained it to some extent. "Having attained the wisdom of suchness that is utterly pure and non-erroneous" means that because it is not erroneous, it is non-erroneous. However, having abandoned the purity of this natural body, it is "wisdom" because it is known by way of the wisdom of utterly pure suchness; thus, it is the attainment of the path of wisdom. This is what is meant by "having attained the wisdom of suchness that is utterly pure and non-erroneous."
"Attaining the signs" refers to the signs of the conceptualized aspect, because of the complete attainment of the wisdom of suchness that is utterly pure and non-erroneous. Therefore, it is the cause of the non-erroneous wisdom of suchness, and the result is the non-erroneous wisdom of suchness. By knowing its signs according to the oral instructions, this is the "attainment of the signs." For this reason, it is said: "Just as water is known by the presence of cranes, and fire is known by smoke, so too the wise bodhisattva recognizes [the goal] by means of signs."
From the word "and" (ca), it is also understood that when a yogi endowed with wisdom—who desires to accomplish glorious Hevajra—attains the consort (vidyā) as taught in the root text, they should go to a charnel ground or a forest.
Following that, the yogi dwelling in a pleasing location such as a charnel ground should perform the secret offering and the bali offering as will be explained. Having invited the wheel of offerings according to the prescribed ritual, one should begin the meditation after making offerings through the distinctions of outer, secret, and suchness offerings.
In this regard, the outer offering consists of various types of flowers and so forth. The secret offering is the meditation on the substances of the samaya symbols held in the hands of the goddesses residing in that wheel. The suchness offering is the emanation and reabsorption of the [deity’s] body. By means of this, one should perfectly worship the Venerable One together with his wheel, using the nets of light rays emanating from the seed syllable situated upon the sun at one’s own heart. This clarifies the meaning of [the light] arising from what is situated upon the sun at one’s own heart.
Then, one should perform the seven unsurpassed offerings before him. The Blessed One taught the wheel of offerings for the sake of the equipment of merit (puṇyasaṃbhāra); from the equipment of merit comes the equipment of wisdom (jñānasaṃbhāra), and from the equipment of wisdom comes unsurpassed awakening (anuttarabodhi).
Then, having constantly generated great love (mahāmaitrī) toward all sentient beings with the characteristic of affection for an only son, one should look upon those fallen into the ocean of cyclic existence (saṃsāra). Just as one would feel for a beloved child suffering in a prison, one should look upon helpless sentient beings with great compassion (mahākaruṇā).
Subsequently, the yogi who has attained great joy, having recognized that [realization] is also accomplished within himself, should laugh. The mantra practitioner, endowed with joy, should meditate on joy; and he should meditate on great equanimity, characterized by being free from all dependence on attachment to saṃsāra or on gain, honor, and the like. Having become thus, the mantra practitioner should undertake the supreme accomplishment:
"Knowing the nature of the dharmadhātu, first meditate on the corpse. The yogi, abiding upon that, should meditate on Heruka himself. Śrī Heruka Vajra. Abiding there, one should manifest the meaning of the six syllables. Then, according to the sublime instructions, one should manifest the meaning of the four syllables of 'Śrī Heruka' through the yoga of the absorption of the vajra appearance of wisdom, and that should be meditated upon; this is supreme. This is the commencement of the yoga of the coemergent, having cast off the impure body. Instantly, in the center of the celestial palace of the Buddha, clearly manifested by the syllables E and Vaṃ, one should meditate on oneself as the great peaceful Vajrasattva, as before, with faces, marks, and so forth, possessing a crown of matted locks, in the vajra posture, marked by the dharma-mudrā, two-armed, seated upon a moon on top of a corpse. One should meditate on the coemergent Heruka, who pervades the infinite world-realms, bearing the thirty-two major marks and adorned with the eighty minor marks."
Why is this? Because:
"The supreme state of naturelessness, joined in union by the vowels and consonants"—this term "ro" (taste) signifies the ultimate meaning, the seat of Vajrasattva. Its generation does not involve the syllables hūṃ and phaṭ; rather, as for the phrase "the syllable from the syllable," it is emptiness. Therefore, if it is a syllable, it is generated from the abhidhāna (conventional designation), which is the "mass" (piṇḍa); thus, it is called "the mass generated from the syllable."
Regarding that very stabilization, the Blessed One stated in the eighth chapter of the Tantra itself:
"The union of the vowels and consonants
Is the seat of Vajrasattva;
The mass arising from the syllables
Does not involve the syllables hūṃ and phaṭ."
As before, having visualized the Lord of the Coemergent (sahaja) through the faces, hand-symbols, and so forth—based on the phrase "the light of the jewel of the beautiful moon"—one should then undertake the state of Dveṣavajra. Then, having described the state of Dveṣavajra, one meditates on the sun of the syllable repha and, by joining the immutable syllable hūṃ, contemplates it in his heart. One should contemplate the bindu of that as the full moon. In its center resides the syllable hūṃ, which clarifies the seed-syllable for the birth of beings. Thus, one meditates on him as the Lord of the three realms of existence. "In his heart" means in the heart of Vajrasattva. This follows the sequence taught in the Chapter on the Deities:
"Visualize the repha in your own heart;
From that, the sun maṇḍala arises;
In that, the very form of hūṃ."
Having the nature of insight and method, the vajra arising from the syllable HŪṂ is black in color and most formidable. One should again meditate on the reality of the HŪṂ situated in the center of the vajra’s hub. Visualizing the syllable HŪṂ as having completely transformed, one should meditate on the nature of hatred. By the sound of the syllable HŪṂ having completely transformed, all of that transforms; having meditated on the heart of the Vajra of Hatred, the Vajra-holder becomes the nature of the Vajra of Hatred according to the oral instructions.
One should contemplate the form of the body equal to that, according to the sequence to be explained. In the center of the four, the yogi should meditate on the Sovereign of the Maṇḍala, the great and formidable lord who possesses the forms of the three desired deities, such as the eight-faced one and so forth, just as he has been instructed according to his own inclination. From the words "perfectly arisen from the body of the Hero," one should meditate on the Sovereign of the Maṇḍala.
Thus, through the yoga of the Vajra of Hatred, one should emanate the hosts of wrathful deities in the cardinal and intermediate directions according to the sequence. Emanating from the syllable HŪṂ, they are all agitated by blazing great rays of light. Then, in the directions of the east and so forth, one should visualize Yamāntaka, Prajñāntaka, Padmāntaka, and Vighnāntaka in their proper order, being black, white, red, and blue respectively. [They hold] a vajra hammer, a white vajra staff, and a red vajra lotus.
They hold vajras with their mouths open; being short and having protruding bellies, their heads are marked by Vairocana, Ratneśvara, Vajradharma, and Amoghasiddhi. Then, in the directions of Īśāna and so forth, Acala, Takkirāja, Nīladaṇḍa, and Mahābala hold a sword, a hook, a staff, and a trident, respectively, and are dark blue in color. Takkirāja and Mahābala are wrathful in appearance, like Yamāntaka. In the center, one should visualize the yellow Uṣṇīṣacakravartin above, holding a yellow wheel and wearing the crown of Vairocana; he is short and has a protruding belly. Below is the black Sumbharāja, holding a pestle and having a protruding belly. These four, beginning with Kāma, and Sumbharāja are crowned by Akṣobhya. These ten wrathful deities stand with their left legs extended, holding a threatening gesture and a vajra-noose in their left hands; they should be visualized upon variegated lotuses and sun disks.
Thus, having emerged in the proper sequence, one should visualize the wrathful deities going to their respective places. Facing [the central deity] and remaining there, they join their palms and, preceded by praises with the eight-line [verse], the heart mantra, and the near-heart mantra, they should be seen to say, "What shall we do?" Then, according to the distinctions of pacifying and so forth, one issues commands to them with "Oṃ sumbhani sumbha" and so on. Having correctly received the command of the Vajra Holder, those intelligent ones place their emanations in their own places, bind the hosts of obstructors around the neck with vajra nooses, and, terrifying them with their respective weapons, seize them. One should visualize that the hosts of obstructors are then entrusted to the respective emanations in the ten directions and remain in the direct presence of the Vajra Holder. In that regard, the hosts of obstructors are as follows: Indra is white, with a thousand eyes, a jeweled crown, and a haughty body. Yama is black, with orange hair standing upright, short and with a protruding belly. Varuṇa is white, with a head marked by a hood and a graceful body. Kubera is yellow, with a jeweled crown and a haughty body. Īśāna is white, with a topknot of matted hair, short and large in stature. Agni is red, with a topknot of matted hair and a body marked by a crown. Rākṣasa is the color of smoke, with loose hair and a short body.
The green Wind God, adorned with a jewel crown, has a haughty body. Above is the great Grandfather, yellow, short, with a protruding belly and a topknot of matted hair. Below is the yellow Earth Goddess, adorned with a jewel crown, with a playful body. One should visualize those leaders of the obstructing spirits, seized by Yamāntaka and the others, becoming terrified and dejected, intent on seeking refuge.
Following that, from the seed syllable at one’s own heart, one should emanate the form of a wrathful spear-head, black in color, extremely fierce, and as difficult to endure as the fire at the end of an eon. Visualizing this emanated form as Amṛtakuṇḍalin, one should direct it toward Yamāntaka and the others, and strike the heads of the hosts of obstructing spirits.
Thereafter, one should perform the ritual of striking with the kīla using this mantra: Oṃ gha gha ghātaya ghātaya sarva duṣṭān phaṭ phaṭ | kīlaya kīlaya sarva pāpaṃ phaṭ hūṃ hūṃ vajrakīla vajradhara ājñāpayati sarva duṣṭavighnān kāyavākcitta vajrakīlaya hūṃ phaṭ. This is the mantra of the kīla.
Then, one should strike with the hammer using this: Oṃ vajramudgara vajrakīlaya ākoṭaya ākoṭaya hūṃ hūṃ phaṭ. One should meditate that all the wrathful deities transform their respective hand-symbols into vajra hammers. Thus, one should strike and hammer with the mantra-kīla until they have sunk into the earth. Then, one should visualize that Yamāntaka and the others enter their respective emanations.
Following that, at the time of unification, one should visualize that the misleading spirits and their retinues are utterly destroyed by the fire of the wrathful deities. Now, having meditated on a sun disk in front of the syllable raḥ, one should visualize a crossed vajra (viśvavajra) generated by the syllable hūṃ upon that sun. With that very vajra, one should visualize the binding of the fence and the tent; with the syllable daṃ, the lattice of vajra-arrows; and the vajra canopy and the ground arisen from vajra are taught, which should be contemplated as reaching down to the foundation of the great powerful one (mahendra). The description of the protection wheel through the phrase "dispelling obstructors" is for the purpose of pacifying obstructing spirits. Following that, the statement "the collection of all things without exception is the recitation of the essence-mantra of suchness" means that by means of that very [mantra], all phenomena are analyzed, and whatever is form is the essence; the collection of that is the "gathering." The mantra is: oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. Immediately thereafter, one should meditate by actualizing the meaning of the mantra—that the self and the three realms are without entity. This is the intense conviction in emptiness. In the center of that, one should meditate on the white syllable e, the form of insight (prajñā) that pervades the expanse of space. Regarding the phrase "upon that," it means the ground is in the center of that, above the space. By this definite sequence, one should contemplate the celestial mansion adorned with the eight charnel grounds, formed by the collection of the maṇḍalas of the four great elements, such as wind and so forth.
Then, following the sequence of the ritual application, the charnel grounds are to be described. In the east is the charnel ground called Fierce and Wrathful. There is a śirīṣa tree, a white elephant-faced being of great miraculous power, the directional lord Indra, white-yellow with a thousand eyes, dwelling upon Airāvata, the yellow nāga king Vāsuki, a cloud of various colors called Thundering, and Mount Meru composed of the four kinds of jewels. There is a white caitya called White Vajra.
In the south is the great charnel ground called Terrifying Skull-Bearer. There is an āmra tree, a black buffalo-faced being of great miraculous power, the directional guardian Yama, black and riding a buffalo, the white nāga Padma, a cloud of various colors called Dispelling, Mount Mālaya which is white, and a caitya called Black Vajra.
In the west is the great charnel ground called Blazing Turbulence. There is a kakkola tree, a white makara-faced being of great miraculous power, the directional lord Varuṇa, white, the red nāga Karkoṭa, a cloud of various colors called Terrible, Mount Kailāśa which is white, and a caitya called Red Vajra.
In the north is the great charnel ground called Dense Thicket. There is an aśvattha tree, a white human-faced being of great miraculous power, the directional lord Kubera, yellow and riding a human, the black nāga Takṣaka, a cloud of various colors called Revolving, and Mount Mandara which is green.
The caitya called Vajra Formations. In the northeast is the great charnel ground called Abundant Forest. At the nyagrodha tree is the white, great miraculous power with the face of an ox. The directional lord is the white Maheśvara, mounted on a white bull. The nāga is the yellow Śaṅkhapāla. The cloud is fierce and multicolored. The king of mountains is Mahendra, black in color. The caitya is called Vajra Mind. In the southeast is the great charnel ground called Ha-ha Laughter. At the karañja tree is the red, great miraculous power with the face of a goat. The directional guardian is the red Agni, seated on a goat. The nāga is the green Mahāpadma. The cloud is dense and multicolored. The mountain is Gandhamādana, yellow in color. The caitya is called Vajra Body. In the southwest is the great charnel ground called Terrible Darkness, or the great charnel ground. At the parṇaka tree is the black, great miraculous power with the face of a corpse. The directional lord is the black rākṣasa with the face of a corpse. The nāga is the white Ananta. The cloud is the Filler, multicolored. The mountain is Himavat, white in color. The caitya is called Jewel Vajra. In the northwest is the great charnel ground called Resounding Kīli-kīli. At the pāṭali tree is the green, great miraculous power with the face of a deer. The directional lord is Vāyu, mounted on a deer. The nāga is the wrathful Kulika. The cloud is the Rain-Bringer, multicolored. The mountain is Śrīparvata, blue in color.
This is the caitya known as Dharmavajra. Within it, one should visualize those with great miraculous powers: on the left, hands holding human skulls completely filled with blood; on the right, hands adorned with lotuses, drawing forth various corpses. Following that, the area is dense with various flowering trees, their branches adorned with sprouts of greenish-yellow channels. It is graced by various birds such as crows, cuckoos, owls, parrots, mynas, pigeons, female pigeons, vultures, and so forth. It is completely filled with various wild animals such as lions, wolves, tigers, bears, pigs, and so forth. It is filled with various fragrant scents and is made vibrant by the wafting fragrance of flowers. It is filled with various swarms of snakes and adorned in various places and directions with skull-caps, skeletons, skulls, corpses, and so forth. Furthermore, in various directions, it is completely adorned by dwellings, temples, meditation huts, ponds, and hosts of yogins, yoginīs, renunciants, female renunciants, meditators, female meditators, yakṣas, yakṣīs, pretas, female pretas, rākṣasas, female rākṣasas, kumbhāṇḍas, female kumbhāṇḍas, bhūtas, female bhūtas, ḍākas, ḍākinīs, vīras, and vīrīs.
These are completely filled with hosts of ḍākas and ḍākinīs who possess minds attached to the symbols of samaya, and who have attained various forms of laughter, flirtation, embracing, kissing, and so forth. Following that, with joyful minds, some dance with vajra steps, some sing vajra songs, some engage in various samaya conducts, some consume the five nectars and the five lamps, some offer various substances, some perfectly satisfy various sentient beings, and some should be seen drinking alcohol. Others also play various musical instruments such as the ḍamaru, the hand-drum, the large drum, the paṭaha, the kṛviḍa, the one-faced drum, the lute, the flute, and the cymbals. Furthermore, the eight charnel grounds—filled with many accomplished ones, male and female vidyādharas, mahoragas and mahoragīs, kinnaras and kinnarīs, gandharvas and gandharvīs, and so forth, as well as hosts of gods, asuras, and garuḍas, resounding with the sound of "kīli kīla," and terrifying with dense, formidable thickets—should be visualized as being blessed and inhabited by hosts of vetālas and bhūtas, who bring great satisfaction through the nine flavors of dance.
The eight charnel grounds are the purification of the eight consciousnesses. The "eight consciousnesses" refer to the five consciousnesses of the eye and so forth, the ālaya-vijñāna (all-basis consciousness), the mental consciousness, and the afflicted mental consciousness. One should understand that the eight charnel grounds are the purification of the eight examples: a mirror, a dream, an illusion, a mirage, a city of gandharvas, an echo, the moon in water, and space. Furthermore, because the eight charnel grounds represent the thorough knowledge of all phenomena and the abandonment of the grasped and the grasper, the eight charnel grounds are known through the examples of the eight consciousnesses.
Next, the celestial mansion, which is the transformation of the four great elements such as the wind of expression, shall be described. The four gates are the purification of the four applications of mindfulness. The four archways are to be understood as the four correct abandonments. The four pedestals are the purification of the four bases of supernatural power. The four walls and the vajra lines are the five faculties. The four corners, the lattices, and the half-lattices are the five powers. The eight pillars are thoroughly conceived as the purification of the eightfold noble path. The seven branches of awakening are the directional markers, the parapets, the parasols, the fly-whisks, the canopies, the bells, and the banners. Thus, the celestial mansion is the purification of the thirty-seven factors of awakening. By the phrase "one should meditate on the clear light," the celestial mansion is indicated.
Therefore, the nature of the factors of awakening (bodhipakṣa-dharma) is established by way of their intrinsic nature. Nevertheless, they should be understood according to their generation as described individually, and their sequence of stages, such as the earth and so forth, should be contemplated by way of their intrinsic nature. Then, the classifications of the factors of awakening will be explained through the kindness of the venerable Padmasambhava.
In that regard, first, the generation of the body is the emptiness of all its phenomena (dharma) and their subjects (dharmin); therefore, the body is generated first. By the word "subsequent," its lack of essence is the nature of those phenomena; subsequently, one recollects whatever is the nature of those phenomena. Thus, because there is no generation, it is the nature of reality (tattva) of all former material entities without exception.
If one expresses this by the word "recollection" as being the nature of the mind, then at that time, how is it that it appears? It is an imputed aspect; otherwise, the nature is not like that. Furthermore, just like a reflection in a mirror, it appears as an imputed aspect of generation.
If one asks what is meant by the word "application" (upasthāna), it is to place [the mind] in the supreme of the supreme; by this, it is an application. The supreme is the clear light (ābhāsvara), which is expressed by the word "recollection." Arising from that and abiding, one should examine the eastern gate as having become thus: the eastern gate is the purity of the application of mindfulness of the body. Likewise, the southern gate is the purity of the application of mindfulness of feeling.
Likewise, the western gate is the purity of the application of mindfulness to phenomena (dharmānusmṛtyupasthāna). Likewise, the northern gate is the purity of the application of mindfulness to the mind (cittānusmṛtyupasthāna). How is it so? Having abandoned form, one does not perceive feeling as something else, and perception is likewise, and consciousness also becomes so. However, the gates appear just as an illusion, a dream, or a city of gandharvas. Likewise, form, feeling, perception, formations, and consciousness are established; all phenomena are likewise consciousness, and consciousness is also momentary. How so? Because when analyzed, it is insubstantial. What is meant by "when analyzed"? It is said that those phenomena which establish consciousness are momentary and without intrinsic nature; therefore, consciousness is also momentary. How so? By analyzing all phenomena, such as gold and so forth, there are phenomena such as vases that have been thoroughly beaten. The non-existence of those phenomena is like the non-existence of a substance; thus, when all phenomena are non-existent, consciousness is non-existent, and therefore consciousness is also momentary. How could the object of apprehension be without substance? There is no apprehender. Thus, if the object of apprehension and the apprehender are non-existent, there is no apprehension. Furthermore, apprehension exists by perceiving an object of apprehension; if those are non-existent, there is no apprehension.
The remaining forms are to be understood as nothing other than the generation of the great gates and their purification. One should contemplate the four gates in that manner; they are of the nature of momentary emanations. Regarding the statement that the four correct abandonments are to be remembered as the four archways:
They are the antidote for non-arisen non-virtues, the severance of non-virtues already arisen, the generation of non-arisen virtues, and the complete dedication of virtues already arisen toward buddhahood. These are the antidote, the severance, the generation, and the dedication.
If one asks what the antidote is for what: it is the antidote for afflictions such as desire. When afflictions such as desire have not yet arisen, the application of a remedy to prevent their arising is the antidote. When afflictions such as desire have already arisen, one meditates on this in order to eliminate them; thus, it is the severance. Because they are eliminated by that, these [afflictions] no longer exist, and thereby the state of being free from afflictions arises. The desire to share what has arisen with all sentient beings together is what is called "complete dedication." Through the purification of the four correct abandonments, there are the archways. Through the purification of the four bases of supernatural power, there are the four pedestals: faith, diligence, discernment, and concentration. "Faith" is the state of being deeply respectful toward the intended object. Likewise, "diligence" is the state of being intensely and uninterruptedly aspirational.
The continuous investigation of that very [reality] is "discernment." Furthermore, what is called "discernment" is the investigation of both itself and others by that very nature. The production of the mental form of the mind itself is the culmination of the mind; therefore, it is that which directly effects the culmination of the mind. Thus, the purification of the four bases of miraculous power (ṛddhipāda) constitutes the four pedestals. "Generating miraculous power" refers to the aspect of purity through the purity of emanations; it is the miraculous power (ṛddhi) of the body that emanates and reabsorbs [forms] according to one's wish. The direct effectuation of this aspect is "generation"; therefore, other than that, there is no entry into the nature of the vajra.
The five faculties (pañcendriya) are the four sides and the vajra line. These are the faculty of faith, the faculty of mindfulness, the faculty of diligence, the faculty of absorption (samādhi), and the faculty of insight (prajñā). Because one first takes up the cause of firm conviction, it is designated by the term "faith," due to its extreme reverence. By engaging in the second cognition of the self and abandoning the reversal [of that], one enters after attaining [the state] of one whose karma is cyclic existence until the end of cyclic existence; thus, it is designated by the term "faith." By merely engaging the mind in the uninterrupted "self" of the third yoga day and night, that which arises without having been produced as an aspect is designated by the term "faculty of mindfulness."
One-pointedness of mind is the fourth, the "peak" (mūrdhan), which is the correct path. Being conjoined with that is the one-pointedness of mind, which is expressed by the term "absorption" (samādhi), while it is expressed by the term "urasa" in another context. "Of the vajra lines" refers to the five lines and the five enclosures, which are distinguished by the divisions of the five tathāgatas. In the center of that is the celestial mansion of the Buddha; "vajra" means equal to all and indivisible. By the term "faculty of insight," it is clarified that all phenomena are utterly non-abiding. At that time, the enclosures are equal because there is no mutual distinction among the tathāgatas. "By the nature of the Vajra-holder" means adorned with the vajra lines; one should visualize the meditation hall adorned with these enclosures. Regarding the corners, the necklaces, and the half-necklaces, "the powers" refers to the power of faith, the power of diligence, the power of mindfulness, the power of absorption, and the power of insight. These are the tantra of the first conviction, the power of the complete fulfillment of the cause, and the power that brings that to perfection; thus, it is expressed by the term "power of faith." For that purpose, by engaging with a stable mind without interruption, it is the "power of diligence."
Furthermore, because the mind is not perceived there even for a single moment, the recollection of that yoga throughout day and night is the power of mindfulness. This occurs when the mind becomes one-pointed. The term "as it has become" refers to the supreme path in which all phenomena are not perceived, and its actualization is expressed by the term "absorption" (samādhi), which is indivisible. Likewise, the four powers are the four corners; they are the "four powers" because they are completely filled by the four faculties. The term "filled" is used because it subsequently fills the objective. The necklace and half-necklace are the power of insight; "power" is expressed as such. That which is made clear by the faculty of insight—the non-abiding of all phenomena—is what truly fills them; this is the actualization. The meditation on the necklace and half-necklace is the indivisible nature through the power of insight; that is what is expressed. The eight pillars are thoroughly established by the eight branches of the noble path. "Never abandoning what has been undertaken" is right view. "Speech that is not deceptive" is right speech. "Not transgressing the ten virtues" is right intention. "A mind that does not harm sentient beings" is right action. "A single-pointed mind regarding the ten virtues" is right livelihood. "A mind of utter selflessness" is right effort.
"Effort" is the exclusion of existence and non-existence. Knowing the three times in a single instant is right mindfulness. The body in which the three worlds are one is right absorption. By these, the pillars are correctly examined.
The seven branches of awakening are the directional supports, the cornices, the parasols, the fly-whisks, the canopies, the bells, and the banners. Among these, mindfulness that thoroughly knows the three times in all respects is the branch of awakening of right mindfulness. The continuous realization of the great flavor itself is the branch of awakening of the accumulation of the thorough discernment of phenomena. Entering the great yoga without interruption is the branch of awakening of the accumulation of diligence. Having no joy in anything other than selflessness is the branch of awakening of the accumulation of joy. The application of the inseparability of emptiness and compassion in all respects is the branch of awakening of the accumulation of pliancy. Attaining the non-erroneous absorption is the branch of awakening of the accumulation of absorption. Entering absorption spontaneously is the branch of awakening of the accumulation of equanimity.
These seven branches of awakening should be contemplated as the directional supports and so forth.
This culmination of meditating on the celestial mansion as the thirty-seven factors of awakening is the omniscience itself, which is the manifest awakening to emptiness and so forth. Now, the generation of the causal Vajradhara will be described. Within the celestial mansion, upon a variegated lotus, one should visualize a sun disk trampled by the four Māras. These are Hevajra’s [trampling of] Brahmā, Viṣṇu, Maheśvara, and Indra, who represent the aggregates, the Lord of Death, the afflictions, and the son of a god, respectively; these are the four Māras who cause the affliction of the aggregates.
Then, having visualized a sun maṇḍala above that, one should double the vowels beginning with the letter A and visualize them in both forward and reverse order. From their total transformation, one should meditate on a moon maṇḍala; this is the mirror-like wisdom (ādarśa-jñāna) that clarifies the thirty-two marks of a great being. Having added the six letters ḍa, ḍha, da, dha, ya, la, one should double the letters beginning with ka and visualize them in both forward and reverse order. From their total transformation, one should visualize a sun maṇḍala; this is the nature of the wisdom of equality (samatā-jñāna) that clarifies the eighty minor marks.
Above these, having visualized the two seed-syllables Hūṃ and Oṃ, one should visualize a skull-topped curved knife (kartṛ) arising from them, marked by the two seed-syllables; this is the wisdom of individual discernment (pratyavekṣaṇā-jñāna).
From the seed syllable, light rays are emitted, illuminating the infinite world systems. Having gathered them and entered into that very [seed syllable], one should meditate that all have become one; this is the all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna). All of that completely transforms, and in an instant, one becomes the body of glorious Heruka, which is the utterly pure wisdom of the expanse of reality (dharmadhātu-jñāna). This consists of five aspects: just as forms are seen by the mirror-like wisdom (ādarśa-jñāna), so too do they become of one taste through the wisdom of equality (samatā-jñāna); through the discerning wisdom (pratyavekṣaṇā-jñāna), there is individual discernment; and through the all-accomplishing wisdom, whatever tasks there are are performed as a single unity. The utterly pure wisdom of the expanse of reality is the form that is one with all aspects. This is the fivefold manifest awakening (pañcākārābhisambodhi).
Then, having visualized the body of the Three Worlds, one should sequentially place Brahmā and Indra at the eastern and other gates, Upendra and Rudra, and likewise Yama, Vaiśravaṇa, Rākṣasa, and Vemacitrin at the intermediate directions such as Īśāna. Having thus meditated on these eight seats, one should look upon the eight seed syllables—gaṃ, caṃ, paṃ, ghaṃ, paṃ, śaṃ, laṃ, and naṃ—in the centers of the joined moon and sun disks upon them. Their complete transformations are the hand symbols of Gaurī and the others: a curved knife, a hand-drum, a tortoise, a snake, a lion, and so forth.
One should visualize the monk, the cakra, and the vajra, and through their blessing, all of these completely transform into one. One should then observe the completion of Gaurī and the others; this describes the maṇḍala to be meditated upon. Now, their purifications, hand symbols, and so forth will be explained.
"Then, out of compassion, the eyes are red." Compassion is the very state of mind that regards sentient beings as an only child; therefore, the eyes are red. "The limbs of the loving mind are black." "Loving mind" refers to the cessation of the aggregates, elements, and sense faculties; therefore, the limbs of the loving mind are black. "The Vajra-holder has three pure eyes." The absence of obscuration in body, speech, and mind is the "three vajras."
"By means of the four means of attraction, the four feet are remembered." The "means of attraction" are generosity, pleasant speech, purposeful conduct, and consistency in purpose. Generosity is the cultivation of the mind toward that which is not to be conceptualized. In that regard, when the mind is cultivated toward the non-conceptual, one rejoices in whatever is blissful; this should be understood according to the instructions. Just as gold is purified through burning, cutting, and rubbing, so too is the term "consistency in purpose" the name for the singular nature of all things. Thus is the purification of the four feet. The eight faces are the purification of the eight liberations: seeing form as empty, and...
Seeing the absence of opportunity as empty; seeing the attainment of the cognition of the pleasant and the unpleasant as empty; seeing the attainment of the view of the made as empty; seeing the attainment of space as empty; seeing the attainment of nothingness as empty; seeing the attainment of the cognition of selflessness as empty; and seeing the cessation of perfect awareness as empty—these are the eight pure liberations. "Liberation" refers to the attainment of bliss in which all faults have been completely abandoned, because it is the cessation of the cognition of perfect awareness of great bliss for both oneself and others.
"The hands are the sixteen emptinesses" refers to: internal emptiness, external emptiness, internal-external emptiness, the emptiness of emptiness, great emptiness, ultimate emptiness, conditioned emptiness, unconditioned emptiness, emptiness beyond extremes, emptiness without beginning or end, natural emptiness, the emptiness of non-nature, the emptiness of all phenomena, the emptiness of non-entities, the emptiness of self-essence, and the emptiness of the nature of non-entities. These are the sixteen emptinesses.
Now, the meaning of emptiness shall be explained: the internal emptiness of all phenomena is "internal emptiness." The external aspects of all phenomena being just so is "external emptiness."
The union of emptiness and compassion inseparably is from the instructions of the Guru. Thus, the emptiness of the outer and inner is [the first]. That which arises from the inseparable union is designated as the "emptiness of the great." That which is empty of the great union is called the "emptiness of emptiness." Therefore, the ultimate is the supreme; the supreme ultimate is the "emptiness of the ultimate." These are the six emptinesses. That which is unified by all aspects of the conditioned is the "emptiness of the conditioned." As for the "unconditioned," it is the absence of formations and the unification of all aspects of birth. That which is "endowed with the supreme of all aspects" is the "emptiness of that which transcends limits." The "emptiness of that which is without beginning or end" is because it is inseparable from that. The "emptiness of the lack of intrinsic nature" is that which arises from the aspect of the deity's nature. The "aspect of the five" is the emptiness of aspects; this is the "emptiness of intrinsic nature." The "nature of the lack of intrinsic nature" is the Perfection of Insight of the lack of intrinsic nature; this is the "emptiness of the lack of intrinsic nature." All phenomena, including the stable and the moving, are even the subtle particles; because they are expressed by the term "all phenomena," whatever is expressed is all empty—this is the "emptiness of all phenomena." If one asks what "non-entity" is: seeing the essence of all beings as like a firebrand's circle is from the perspective of nature.
The emptiness of non-entities is the emptiness of the renowned intrinsic nature. "Intrinsic nature" refers to the emptiness of intrinsic nature. When the element of space and consciousness become one, the manner in which form is transformed is called the emptiness of non-entities. These emptinesses are proclaimed as the purity of the hands.
Next, the purity of the colors of the faces shall be described. The first face, black, is for the purpose of accomplishing the activity of aversion and for the sake of the sense faculties being without obscuration. The left face, red, is for the purpose of accomplishing the activity of magnetizing. The very nature of the unity of body, speech, and mind is sovereignty. The right face, white, is for the purpose of pacifying. The pride of the purity of the deities within the aggregates, elements, and sense bases is called pacifying. The upper face, fanged and smoke-colored, is for the purpose of destroying the arising of afflictions such as aversion in future times.
Likewise, for the purpose of destroying the four Māras, there are four faces resembling bees: the sickness based on the aggregates is the Māra of the aggregates; the transformation of the aggregates into the aggregates is the Māra of death; the harming of sentient beings is the Māra of afflictions; and likewise, the seduction of women is called the Māra of the son of the gods. For the purpose of destroying these four Māras, there are four faces resembling bees.
The purity of the hand symbols shall now be described.
The elephants and so forth, which are the objects of grasping, are for the sake of pacifying the various afflictions. The "various afflictions" refers to coughs, asthma, and likewise insanity, consumption, leprosy, ulcers, tumors, and the natural elephant and so forth; these are what are fully described. Here, the sentient beings who have become afflicted by those eight afflictions are "grasped" in the sense of being held upon the vessel. The symbols held in the left hands, from the earth element up to the "holder of wealth" (the earth), signify the accomplishment of the eight masteries.
As it is said:
"Body mastery, speech mastery,
Likewise, mind mastery,
Mastery of miraculous power and movement,
The eighth is the mastery of desire."
Infinite body is body mastery; speaking in the languages of all sentient beings is speech mastery; knowing the minds of sentient beings is mind mastery; seeing infinite world-systems through miraculous power is mastery of miraculous power; the body that pervades the three worlds is the mastery of movement; and because sentient beings desire the nature of great bliss through desire, it is the mastery of desire—the word "desire" here expresses the longing for desire. The term "agent" refers to the mastery of action performed by the agent, Vajradhara himself.
Having passed into nirvāṇa from the very form of the profound deity, and having passed into nirvāṇa, he moves in the form of the deity; thus, he is the Lord of Qualities. This is the purification of the signs. Now, the purification of the vessels shall be explained: the vessel is the aspect of compassion clearly manifest, and the hands are the purification of the sixteen emptinesses. By this, the indivisibility of emptiness and compassion is clearly demonstrated.
Regarding the phrase "the five Buddhas of the mātṛs," the term mātṛ refers to the mudrās, which are the purification of the five Tathāgatas. "Mudrā" means that which completely covers: the wheel, the earrings, the necklace, the bracelets on the arms, the belt, and the ash—these are renowned as the six mudrās. Furthermore, "mudrā" is authentic cognition (samyagjñāna). "Authentic cognition" refers to that in which the essence of cognition does not exist; that which is form is what becomes authentic cognition.
The garland of heads on the shoulders is made from the fifty letters; the garland of heads on the neck indicates the path of union through the purification of the fifty letters of the āli and kāli. Now, the nine flavors of dance shall be explained: being of one taste with Nairātmyā is the śṛṅgāra (erotic) flavor. Dwelling in the charnel grounds is the vīra (heroic) flavor. The frowning and baring of fangs is the bībhatsa (disgusting) flavor. The blazing light is the raudra (fierce) flavor. The wide-open face is the hāsya (laughing) flavor.
The garland of moist heads is terrifying. The mind that cares for sentient beings is compassion. The illusory form is wondrous. Because of having utterly abandoned afflictions such as desire, he is peaceful. The Blessed One, the causal nature, is endowed with these nine dramatic expressions. Upon the forehead, the garland of five dry heads clearly represents the five aggregates. The crown is marked with a crossed vajra for the sake of accomplishing diverse purposes. Because he is the form of omniscience and because he fully knows the three times, each face has three eyes. To signify the burning away of all afflictions such as desire, his orange-red hair is shown standing upright. Because all phenomena are clearly manifest without obscuration, he is naked. Because he has attained the feet of bodhicitta, he is in the dancing posture of the half-lotus. To clearly manifest the entirety of the three worlds as one, a single big toe is shown. The Blessed One also appears momentarily; just as it is with the Blessed One, so it is with the Blessed Lady. Furthermore, due to the power of a single form, she has one face. In her left hand, she holds a skull-cup filled with the blood of gods and asuras. If one asks what the terms "god" and "asura" mean: "god" refers to body, speech, and mind, and their objects are the "asuras."
That these are "without activity" means they act without attachment and without apprehension; this is the skull-cup filled [with blood]. The phrase "the unification of the skull-cup and the blood" demonstrates the complete fulfillment of the meaning of the Perfection of Insight (prajñāpāramitā). In her right hand, she holds a curved knife (kartṛkā) in order to sever all afflictions (kleśa) without exception; the remaining [attributes] should be understood in the Blessed Lady just as they are in the purity of the Blessed One. Now, one should visualize the four wheels (cakra) in the body of the Vajra-holder, the samaya of the object of accomplishment, beginning with the emanation [wheel]: the dharma, the enjoyment, the emanation, and the great bliss wheels, which signify the purity of the four bodies (kāya). Now, the purity of the maṇḍala deities will be explained.
Gaurī, who is black, is for the sake of utterly slaying those sentient beings who are to be tamed by Māra. In her right hand, she holds a curved knife to sever wrong views, and in her left, a rohita fish to destroy the habitual tendencies (vāsanā) of saṃsāra. Caurī, who is red, is for the sake of awakening those sentient beings to be tamed by desire; in her right hand, she holds a hand-drum (ḍamaru) to clarify the very nature of insight and method, and in her left, a pig for the purpose of destroying delusion (moha). Vetālī, who has the luster of refined gold, is for the sake of taming sentient beings of expansive [nature] and for the purpose of generating bliss. In her right, she holds a tortoise to clarify the meaning of emptiness (śūnyatā), and in her left, a lotus vessel, the nature of which is compassion (karuṇā).
Ghasmarī is like a marakata gem, holding a slightly reddish-green vajra; this is for the purpose of awakening those beings who hold the view of killing in the performance of wrathful rites. In her right hand is a snake, representing the purification of hatred; in her left is a yogic vessel, the nature of which is method and insight. The blue Pukkasī is for the purpose of awakening proud sentient beings in the accomplishment of the rite of paralyzing. In her right hand is a lion to utterly crush the hosts of Māra; in her left is a battle-axe to sever all dualistic grasping without exception. Śavarī is white, for the purpose of awakening peaceful sentient beings. In her right hand is a monk to clearly manifest the five wisdoms; in her left is a mendicant’s staff to internalize non-dual wisdom. Caṇḍālī is green like the sky, for the purpose of awakening paralyzing sentient beings in the accomplishment of the rite of paralyzing. In her right hand is a wheel to sever even the slightest trace of cognition; in her left is a plowshare to uproot the stains of ignorance. Ḍombī is multicolored, for the purpose of accomplishing various aims and awakening beings with malevolent intentions. In her right hand is a vajra to clearly manifest the wisdom of ignorance; in her left is the threatening gesture to intimidate all malevolent beings without exception.
Now, the purification of their eight seats will be described: attachment, knowledge, learning, stinginess, food, and...
Sleep, conceptualization, and faith—these are taught as the seats in order to sever extreme attachment. Furthermore, "extreme attachment" refers to meditative concentration (dhyāna); thus, the purity of the seats is described. All of these [deities] have three eyes, orange-red hair standing upright, and are adorned with the five mudrās. They abide in the dance posture of the half-lotus, are naked, and have fanged faces. One should meditate on the Blessed One (Bhagavān) as possessing the desire of desire.
Beyond that, on the divine ledge, the goddesses such as Vīṇā and the rest are positioned at the gates of the central deity, starting from the right, at the gates and the intermediate corners. Two goddesses are placed at each [location]. The seed syllables of these are the first letter of their respective names, joined with a moon and a drop (bindu). One should contemplate that the signs of these [deities] generated by those [syllables] are marked by those very seeds, and that they are to be visualized in the center of a moon and sun. Just as Gaurī and the others are perfected, so too are Vīṇā and the others generated.
They are as follows: Vīṇā is yellow; Vaṃśā is red; Murajā is the color of smoke; Mṛdaṅgā is white; Hāsā is yellow; Lāsyā is red; Gītā is red; Nṛtyā is multicolored; Puṣpā is white; Dhūpā is black; Dīpā is golden light; Gandhā is yellow; Ādarśā is white; Rasā is red; Sparśā is green; and Dharmā is white. These hold their respective hand-symbols in their right hands and stand upon moon seats.
One should view the sixteen parts as completely pure. By means of that, beginning with the variegated lotus and culminating in the completion of the body of the Causal Vajradhara and the maṇḍala deities, there is the manifest awakening of the knowledge of the path.
Then, one should contemplate the nature of the subtle maṇḍala as a garland of two red hoḥ syllables completely encircling [the seed]. According to the oral instructions: the gandharva-mind, which is of the nature of great bliss, is summoned by one's own intensely passionate light rays. Having been introduced according to the pith instructions, by the mere act of entering, the Blessed One, in a single flavor of supreme great bliss, together with his consort, melts through passion and attachment and abides in the form of the seed-syllable.
Then, the four goddesses, Pukkasī and the others, cry out, "We have no protector!" and, having fallen into great distress with extremely piteous minds, they awaken the Blessed One with songs of supplication. Here, the meaning of the four verses of the supplication for arising shall be explained. Regarding the words, "Arise, O Venerable One, whose heart is compassion," and so forth: "Arise! You who possess a mind of compassion, protect me, Pukkasī! Through the union of great bliss, please fulfill my desire! Abandon the absorption of emptiness in the form of melting! I have great love for you. Without you, I shall die."
"O Hevajra of emptiness, please arise so that the purpose of Ḍākinī Śabarī may be accomplished!" This means: "I have great compassion for you. Having invited you as a guest to the world, why do you remain in the emptiness that is the primary joy? I, Caṇḍālī, offer a prayer; without you, I am lost and see nothing." Thus, "Please arise!" means: "I have great joy for you. O Illusionist, please arise! I know your mind; I, Ḍombī, am exceedingly wise, skillful, and delightful. Do not let your compassion be severed!" This means: "I am the state of your great equanimity."
By this, the form of the melted [deity] is shown through the purification of the four suchnesses: the suchness of food, the suchness of the deity, the suchness of mantra, and the suchness of wisdom. Then, according to the instructions of the Guru, one should gradually comprehend the meaning of these four suchnesses. This is not explained here for fear of being too wordy. Therefore, if the Blessed One becomes one who possesses that very form, then at that time, he arises from the application of that very song, like waking from sleep.
Nevertheless, others say: "If the Blessed One is one who possesses selflessness through a mind that is utterly selfless, then what is this seeing of a dream in space? How does the Blessed One arise like waking from sleep?" To this, it is said:
Just as sentient beings do not perceive anything at all during the state of sleep, yet are seen to arise from it, how is that? Therefore, by the power of the activity, they arise instantaneously as if startled; thus, the Blessed One, having entered into meditative absorption on emptiness, does not perceive himself or others. Then, being exhorted by the song of suchness, he arises through the power of his aspiration.
Nevertheless, there are two questions: How is it that while sentient beings perceive the pleasure of the body, they do not perceive the state of sleep, yet the body still exists—is the Blessed One similar to that? And how does he arise? Furthermore, if a practitioner first purifies the impure body and, through the purity of emptiness and so forth, becomes attached to the nirmāṇakāya, why then does he again receive the request? If that is not a nirmāṇa, it is because it is devoid of bones, marrow, and so forth—these are the two questions.
Then it was said: First, receiving the request is the cause, not the result. Thus, from the purity of receiving the request and so forth, the resultant Vajradhara is also apprehended; this resolves the first question. As for the second: first, by means of the deity’s form, the impure body is absent. If the impure body is absent, there is merely attachment to a pure emanated body. Since that [impurity] is absent, he abides in the form of consciousness, which is like the essence of nectar, like the moon, and like a dream or an illusion.
Therefore, the illusory consciousness is the support for the aspiration. Just as an illusion performs its function even though it does not know itself or others, so too the illusory consciousness arises through the power of long-term aspirations, rather than through knowing itself or others. The sequence of that arising is as follows: it proceeds from the yoga of the five aspects.
"The essence of nectar, the form of the moon." This means that the essence of nectar, having completely transformed, is the bodhicitta, the nature of the five wisdoms. From that, the āli [vowels] completely transform into the mirror-like wisdom, which is the moon. From the complete transformation of the kāli [consonants], the wisdom of equality is the sun. The seed-syllable situated in the center of those is called the discerning wisdom. The unification of all these is the all-accomplishing wisdom. The perfection of the form is the pure dharmatā.
Therefore, it is the bodhicitta, the nature of the five wisdoms. By the rays of light arising from that, the moving and the non-moving are summoned and made of one taste within that very maṇḍala. One should view it as the bodhicitta in the form of the autumn moon. This is the absorption called "yoga." Following that, in an instant, that form completely transforms into the coemergent Hevajra, in the form of the autumn moon, illuminating the infinite world-realms, endowed with the dharmamudrā, and the nature of the five wisdoms—this is how one should contemplate.
This is the absorption known as "Subsequent Yoga." Then, the arrangement of the aggregates, elements, and sense bases should be undertaken: the syllable Aṃ is to be arranged upon form; the syllable Iṃ is drawn upon feeling; the long Īṃ is meditated upon upon perception; the syllable Uṃ is arranged upon formations; and the syllable Aṃ is arranged upon consciousness, for the sake of purifying the five aggregates.
The syllable Ūṃ is arranged upon flesh; the syllable Ṛṃ is also recollected upon blood; the syllable Ṝṃ is for the bodhicitta; and the syllable Ḷṃ is arranged upon marrow and fat, for the sake of purifying the elements. The syllable Ḹṃ is for the objects of form; the syllable Eṃ is arranged upon sound; the syllable Aiṃ is for the portion of smell; the syllable Oṃ is also for taste; and the syllable Auṃ is for touch. The syllable Aḥ is for the dharmadhātu, because these are the very causes for stabilization, as the Blessed One taught in the ninth chapter:
"In the aggregate of form is Vajrī; in feeling, one recollects Gaurī; in perception is Vārīyoginī; in formations is Vajraḍākinī; and in the manner of the aggregate of consciousness, Nairātmyayoginī abides. Form is always said to be Gaurī; sound is renowned as Caurī; the portion of smell is Vetālī; taste is recollected as Ghasmarī; touch is said to be Bhūcarī; and Khacarī is in the dharmadhātu. Flesh is explained as Pukkasī; blood is renowned as Śavarī; the inner heat (caṇḍālī) is said to be the fluid; and Ḍombī is in marrow and fat."
This is the absorption known as the "Great Yoga." By means of this, one establishes the aggregates, elements, and sense bases. Accordingly, it is said: "First is the awakening of emptiness; second is the gathering of the seed-syllable; third is the perfection of the form; and fourth is the arrangement of the syllables." At the navel, heart, throat, and forehead, there are thus four lotuses with sixty-four, sixty-eight, sixty-four, and thirty-two petals respectively. Therefore, through meditation, one should contemplate that place together with the moving and the non-moving.
Then, one should perform the blessing of the body, speech, and mind using the mantras taught in the "Mantra Chapter" for the blessing of body, speech, and mind, according to the instructions of the oral lineage. With the syllable OṂ, the Vajra Body; with the syllable ĀḤ, the Vajra Speech; and with the syllable HŪṂ, the Vajra Mind—this is the Great Yoga.
Now, "upon that" means in the heart of the Sattva, according to the sequence previously explained and the sequence taught in one's own sādhana, one should visualize the form of the glorious Heruka, possessing the four colors, as one's own chosen deity in the form of a solitary hero, or in union with Nairātmyā and one's own consort, as the nature of the perfected body. Following that, one should undertake the three samayas: the samaya of the self as the Vajra Holder; the samaya of wisdom, which is the sun at one's heart; and the samaya of absorption, which is the syllable HŪṂ upon that.
From the instructions to be explained, the two samayas of wisdom and absorption should be understood. The arrangement is also to be performed for the Blessed Lady just as it is for the Blessed One. Furthermore, the assembly of the five families of the Blessed Lady is renowned in various other sādhanas. "Assembly" refers to the assembly of the Tathāgatas. With the syllable ĀḤ, the three-petaled lotus is made to be soothing, and with the syllable HŪṂ, the lotus anthers are formed. The vajra is generated by the syllable HŪṂ, and its jewel is visualized as the syllable HŪṂ. Having blessed the lotus and the vajra with the two verses beginning with "Oṃ mahāsukhadhara," and preceded by the recitation of the uncontrived syllables, one should stir the vajra and initiate joy. This arises from the pride of Vāgvajra among the five Tathāgatas. First, through the intense conviction in emptiness and so forth, up to the culmination of the bliss of joy, there is the absorption known as the "Initial Union." Furthermore, having realized that this arises from the bodhicitta produced from the great bliss of the single taste of wisdom and method, the yogi—holding the garuḍa mudrā preceded by the recitation of the three realities in the center of the city of objects—should lick with the tongue. In that way, the offering to the Tathāgatas is constant. Even externally, if she is an excellent wisdom consort, or if she is not, then at that time one should not do it, for it would become a root downfall.
Following that, the subtle residue of bodhicitta, which is the size of a mere atom, undergoes a complete transformation. Within the center of the goddess’s lotus, one should visualize the Sovereign together with the maṇḍala deities through the union of churning and being churned. From this, one should emanate the syllable HŪṂ of Vajradhara, the syllable AṂ of the Blessed Lady, the syllable GAṂ of Gaurī, the syllable CAṂ of Caurī, the syllable PAṂ of Vetālī, the syllable PAṂ of Pukkasī, the syllable ŚAṂ of Śavarī, the syllable LAṂ of Caṇḍālī, and the syllable ḌAṂ of Ḍombinī.
By means of these and others, one should emanate the eight goddesses, Gaurī and the rest, in their proper order at the eastern and other gates. Through those syllables HŪṂ and AṂ, the Blessed One and the Blessed Lady are brought forth. The Blessed One is then absorbed into the Blessed Lady, and the Blessed Lady likewise into the Blessed One. Beginning with the entry of the gandharva-mind and ending with the emanation of the maṇḍala, this is the manifest awakening of the knowledge of all aspects.
Following that, one should meditate on the goddesses Gaurī and the rest, who have been generated from the bodhicitta. In this way, one should correctly visualize the maṇḍala wheel as it has been taught, surrounded by the assembly of consorts, with masses of light rays pervading the expanse of space. Now, one should summon, absorb, bind, and please the wisdom wheel by emitting light rays from the seed syllable at one’s own heart.
Having emanated [the wisdom beings] into the expanse of space, invite the wisdom beings (jñānasattva) and visualize them in front. Present the water for the face, the water for the feet, and so forth; having made perfect offerings and praises, summon, enter, bind, and satisfy them with the mantra jaḥ hūṃ baṃ hoḥ. Having caused the wisdom maṇḍala to enter the commitment maṇḍala (samayamaṇḍala), once they have become one, generate the divine pride (devatāhaṃkāra). Contemplate the pride of wisdom at the heart, and in every way, the wisdom maṇḍala is just like oneself. In that way, after they have entered, visualize at the heart the wisdom being (jñānasattva) who is red, with two arms and one face, endowed with insight (prajñā). At his heart is the Lord of Absorption (samādhipati). Then, beginning with the Blessed Lady, one should likewise visualize Gaurī and the others. From the initial summoning of the wisdom maṇḍala up to the final entry of the wisdom maṇḍala is the manifest awakening in all aspects (sarvākārābhisambodhi).
Following that, when the wisdom maṇḍala and the commitment maṇḍala are made one, the five Tathāgatas in the form of Heruka, together with their maṇḍalas, are invited into the sky by means of intensely blazing rays of light. Visualizing them, one should look toward them while making the request: abhiṣiñcantu māṃ sarvatathāgata. Then, those Tathāgatas, with hands holding the five victorious vases, [perform the consecration] just as [the Buddha was consecrated] at the moment of birth:
"Just as at the moment of birth..."
Having recited these and other verses, one performs the self-consecration while reciting: oṃ sarvatathāgatābhiṣekasamayaśrīye hūṃ. Following that, saffron, sandalwood, and various fragrant scents waft forth, and a rain of flowers falls. The sound of drums resounds, and amidst the sounds of dance, music, and praise, a clamor is proclaimed throughout the infinite world-realms. Thus, the empowerment is conferred, and one becomes the Lord of Mind (cittaiśvara) at the crown of the head. The Blessed Lady is also marked by the Mind.
The Tathāgatas—Mind, Constant, Ratneśa, Amitābha, and Amoghasiddhi—seal Gaurī and the others. Furthermore, these Tathāgatas mark the heads of Pukkasī and the others in their respective order. Then, Vīṇā and the others make offerings to their respective lords. Holding a mirror, a lute, a conch of fragrance, a vessel filled with various flavors, the substance of touch, and a source of phenomena (dharmodaya) completely filled with bodhicitta, Rūpavajrā and the others make offerings to the Blessed One.
"You are surrounded by the assembly of yoginīs;
You have attained the supreme through your own mind;
You adorn all beings, both moving and unmoving;
With a compassionate heart, you perfectly awaken all."
"Through the elaborations of illusion, the vajra is perfectly accomplished; O King, glorious Heruka, you who delight the mind!" Thus, with this vajra song, Locanā and the others praised the Blessed One. Furthermore, the Tathāgatas, Bodhisattvas, Vidyā goddesses, the lords of the wrathful deities, and so forth, remained in the sky and offered praise with the heart mantras, near-heart mantras, garland mantras, and the eight-line mantras. This sequence, beginning with the initial empowerment and culminating in the praise, constitutes the "peak" manifest awakening.
Following that, in the space before one, from the syllable yaṃ arises a wind maṇḍala adorned with victory banners. Above that, from the syllable raṃ arises a blazing fire maṇḍala. Above that, from the syllable āḥ arises a vessel made of three human heads, which is further blessed by the syllable āḥ. Its interior is red and its exterior is white. In its center are the syllables bhrūṃ āṃ jrīṃ khaṃ hūṃ, laṃ maṃ paṃ taṃ vaṃ; these completely transform into the five nectars and the five lamps. Above that, one visualizes it covered by the syllable hūṃ and blessed by the syllable hūṃ. Stirred by the wind, the fire blazes, causing the contents to take the form of mercury. It is purified by the syllable hūṃ, realized by the syllable āḥ, and made to blaze by the syllable oṃ. Subsequently, the light rays of those three syllables summon the wisdom nectar, which is then absorbed into that very substance.
Having unified [the substances], stir them with a vajra arisen from HŪṂ, making them of equal taste, and visualize them dissolving into the vajra-amṛta. By thoroughly infusing them with the wisdom-amṛta of the Tathāgatas, they become intensely cool. Having thus perfected this, bless them with the three tattvas and, having summoned them with light rays, partake of them with the tongue of the vajra arisen from HŪṂ, together with the maṇḍala and the self. This sequence, beginning with the tasting of the amṛta and ending with that [partaking], is the abhisamaya of the successive abidings.
Following that, through the application of emanating the maṇḍala and the deities of the maṇḍala individually, wherever and whomever the disciples are to be tamed, they go there through those emanations, tame them, and return. Having dissolved them into their respective bodies and fully ripened them through this sequence, one should begin the meditation of the six branches. This sequence, beginning with the emanation and ending with the ultimate benefit of beings, is the maṇḍalarājāgrya-samādhi.
Then, in the center of the union of the moon and the sun, visualize the seed-syllable of the Universal Monarch, the king of secret mantras, and meditate on the six branches. From what [do they arise]? From the mass of light rays emerging from the syllable HŪṂ situated in the center of the moon and sun at one’s own heart. Then, in the heart of the wisdom-being (jñānasattva), meditate on the Protector Kṛṣṇa, the lord of the first absorption.
From the complete transformation of that, one should visualize a drop (bindu). From its light rays, [emanations] emerge from the pores of the Blessed One’s body. One should visualize the maṇḍala and its inhabitants as Mahākāla. In the second [moment] they are yellow, in the third red, in the fourth green, in the fifth blue, and in the sixth white. By means of this, one meditates on the limbs; having meditated on the six limbs, one should subsequently dissolve the colors. By the term "dissolving the colors," two things are understood: the pride of the Tathāgata in those colors for the sake of the distinctions of pacification and so forth, and the method for entering the clear light (ābhāsvara).
In that way, the vowels (āli) and consonants (kāli) are emanated and withdrawn from the exhalation and inhalation of the breath, and one enters into that very state, becoming one. This refers to the emanation of the garlands of vowels and consonants. From what [do they emanate]? From the exhalation; the vowels and consonants emerge from the path of the outgoing breath. Their light rays perfectly purify the major and minor marks (lakṣaṇa-vyañjana). Having become one with the moving and the non-moving, they are inserted into that very [state], and Gaurī and the others, along with Nairātmyā herself, are absorbed into oneself, abiding in the state of the Vajradhara by way of the unexamined nature.
Then, [one appears as] one-faced and two-armed, white. In the center of the union of the moon and the sun, there is the non-apprehension of existence and non-existence. Thus, in the Chapter on the Families, it says: "Great wisdom abides in the body."
"Having completely abandoned all conceptualization,
Pervading all things,
Though abiding in the body, the body is unborn."
Thus spoke the Sambhogakāya. Furthermore:
"Just as the supreme, pure form
Of all its limbs is beautiful in a mirror,
So too the body of the Vajra-holder,
Rich with the eighty minor marks and the major signs, is eternal."
This is the stage of self-consecration. Having first acted for the benefit of beings, it culminates in the coemergent, and thus awakening is attained in a single instant.
Then, regarding the phrase "abiding in the state of the seed": what is this? That coemergent is the seed.
In this context, it should be remembered that this is to be understood through the purification of the four: laughing, gazing, embracing, and entering into union.
Through the master, the secret, the insight, and the culmination of supreme great bliss, the divisions of the moments of joy are expressed. By the word "master" is meant the moment of variety, the first joy. By the word "secret" is meant the moment of ripening, the supreme joy. By the word "insight" is meant the moment of discernment, the joy beyond joy. By the phrase "culmination of supreme great bliss" is meant the moment without characteristics, the coemergent joy.
Through the application of the action seal (karmamudrā), the shadow of the coemergent is only slightly differentiated.
Through the application of the wisdom mudrā, there is perfect union; through the application of the mahāmudrā, there is once again the absence of feeling. How so? "Therein, there is no beginning, middle, or end; there is no cyclic existence and no nirvāṇa. This is supreme great bliss, where there is neither self nor other." Having realized this in the state of the coemergent, the Blessed One then enters into the clear light (ābhāsvara); such is the meaning. By this, the seed syllable, the moon, and the sun become blended. By this, the essence of the three wisdoms is clarified as being without inherent existence. By the phrase "of the nature of nectar," the state of the coemergent is made stable. Regarding the phrase "by the sequence of the form of the mass of light rays, like the tip of a lamp flame, one should make it non-apprehensible": "light rays" refers to rays of light. "The sequence of the form of the mass" refers to the collection of aggregates. "By the sequence" means entering through the sequence of the five aggregates. "Like the tip of a lamp flame" means just as the tip of a lamp flame vanishes from the lamp in an instant, so too the Blessed One [dissolves] through the sequence of the aggregates: from form into feeling, feeling into perception, perception into formations, formations into consciousness, and consciousness into space, because it is without direction. If one asks, "How is the gathering by Gaurī and the others as previously described?" the sequence for that should be stated as follows:
Having arisen from the āli and kāli, the entire threefold world is unified and dissolved in sequence. Gaurī takes her own object and goes to the Blessed One. Likewise, Caurī, Vetālī, and Ghasmarī go to feeling, perception, and formations. Similarly, Pukkasī takes the solid element and goes to the form realm of the Vajra Holder. Likewise, Śavarī, Caṇḍālī, and Ḍombinī go to water, fire, and wind.
Furthermore, when Gaurī and the others have performed the gathering, the gathering by Pukkasī and the others is shown. Nevertheless, the distinction must be stated: what is the gathering by form and so forth if one has abandoned one’s own elements? However, they are taken at the time of sleep. Then, for Pukkasī and the others as well, if there is the object to be grasped, the grasper, and the act of grasping, the three wisdoms are purified. These are the forms of the nature of Khecarī, Bhūcarī, and Nairātmyā, expressed by the terms āloka (light), ālokābhāsa (increase of light), and ālokopalabdha (attainment of light). Having reached the two directions, the goddess Nairātmyā first goes to the consciousness of the Vajra Holder. Why is that? One should visualize the syllable Aṃ upon the moon maṇḍala in the heart of Nairātmyā; by that very [syllable], the syllable Aṃ melts together with the moon maṇḍala.
One should contemplate that the Blessed Lady enters into the heart of the Blessed One; this is the summary of the Blessed Lady. By this, beginning with the coemergent [state] and culminating in the clear light, the dharmakāya is manifestly awakened. Then, the arising from the clear light shall be explained: here, that clear light is the supreme yoga. As for the arising, it is how the coemergent arises from the vajra of the individual appearance of wisdom, and subsequently, how it proceeds from the coemergent as the first [stage] up to the culmination of the clear light. In that way, one should contemplate from the clear light to the coemergent, and from the coemergent back again by this very sequence, until awakening is attained.
Regarding the "sequence of blessing in four sessions," this refers to the stages of meditation at dawn, midday, afternoon, and night. Following that, the yogi who has grown weary of the stages of meditation should recite the mantra. After that, having arisen from the clear light, one should contemplate the meditation and the offering cake (bali).
Thus, beginning with the supreme [state], one should perfect the form of one's chosen deity according to the sequence taught in the yoga of Hevajra, the Coemergent. Then, as for the recitation of the mantra, having perfected the Blessed One who is the nature of the ḍākinī wheel, just as the former [stages] were, so too are the latter.
Through the relationship of action and agent, one should first visualize the Blessed One and, following that, the maṇḍala of the ḍākinīs. The offering of the bali cake is likewise; however, for the purpose of subduing the malevolent, one should visualize the Vajra-holder as having the nature of a wrathful deity. The application of the ritual action should also be performed by relying upon the six branches.
Then, during the stage of recitation, when reciting the mantras of Gaurī and the others, one should visualize the reciter being embraced by the Blessed Lady and engaging in the conduct of a yoginī in her abode. One should recite the heart mantra of the Vajra-holder’s rosary, the eight-line [praise], the heart mantra, and the near-heart mantra. Otherwise, one should recite only the heart mantras of Nairātmyā and Gaurī and the others. In that regard, the sequence is as follows: having visualized oneself as the embodiment of insight in the center of the maṇḍala, by means of this very ritual, one should cause the mantra syllables to revolve continuously from the mouth of the goddess into one’s own mouth; this is the cakra-japa (maṇḍala recitation).
Having arranged the mantra syllables in one’s own heart, one should visualize them with light rays, their heads pointing upward; this is the piṇḍa-japa (cluster recitation). One should mentally realize that those mantra syllables are being uttered from the mouths of the Lord of the Maṇḍala and the members of the maṇḍala; this is the samaya-japa (samaya recitation).
Following that, one should imagine the breath being exhaled to the limit of the desired object of focus and ascending from the navel, and then imagine the breath entering through the nostrils. Thus, by not focusing on the lower part and perceiving the sound as desired, this is the "vajra recitation," which is also the hidden oral instruction.
Then, having perfected the state of the Lord of Wrath (Krodheśvara) through the previously described sequence, one should emanate the wrathful deities in their proper order and dispatch them to summon the hosts of obstructors (vighna). Having dispatched them, one should visualize the three cities of liberation within the three [syllables of] reality. Visualizing in this way, one generates the vajra through the gathering of the "elephant-vessel" and likewise generates the bell from the "earth-vessel," thereby becoming the holder of the vajra and bell. For the sake of benefiting sentient beings, one should consecrate the offering cake (bali) through the application of the various actions and colors.
These [deities] summon them into the city of the Vajra Holder. By merely summoning the misleading spirits above with the Uṣṇīṣa-Cakravartin and below with the King Sumbharāja, one recites the mantra beginning with "Oṃ andī ja ma ja la" and so forth. Then, by reciting "Oṃ ākarṣaya jaḥ," "Oṃ padmatraya praveśaya hūṃ," "Oṃ svasthāna bandhaya vaṃ," and "Oṃ vajraghaṇṭāya vaśīkuru hoḥ," one performs the summoning, entering, binding, and satisfying. Having generated [the offering] into nectar through the recited ritual, one presents the five offerings, such as the foot-bath, flowers, incense, perfume, and lamps.
Preceded by praises and the presentation of torma offerings, one should recite the boundary songs and perform the lotus-circling and other gestures. Then, having performed the binding of mudrās during the sequences of the embrace, one should visualize the city of liberation of the vighnas in the center. In the center of that city and on the eastern petal is Indra, thousand-eyed, yellowish-white, holding a vajra in his hand, and seated upon a white airavata elephant. On the southern petal is Yama, black, holding a staff in his hand, and mounted upon a buffalo. On the western petal is Varuṇa, white, with a makara as his mount, holding a kumuda lily and a lotus in his hands. On the northern petal is the yakṣa, yellow, with a horse as his mount, holding a śrīphala fruit in his hand. All of them are adorned with hanging ornaments and precious crowns; Yama has a sun seat and sun-like radiance, while the remaining ones have moon seats and moon-like radiance. On the petal of Īśāna is the lord of bhūtas, white, three-eyed, with a crown of matted hair, and possessing a bull as his mount; he holds a trident in his hand and wears a tiger-skin garment. His body is smeared with ashes, he is adorned with all the bone ornaments, and he has a moon seat and moon-like radiance. On the petal of Agni is Agni, with a protruding and very large belly, short in stature, with a goat as his mount; he is red, holding a rosary and a water-pot, with a crown of matted hair, wearing a garment of tree bark, and has a sun seat and sun-like radiance.
On the rākṣasa petal is a rākṣasa with loose hair, holding a sword and a skull-cup, wrathful with furrowed brows, black in color, seated upon a corpse on a sun-disc, and possessing the radiance of the sun. On the wind petal is the wind god Vāyu, holding a vajra, green in color, wearing a jeweled crown, mounted on a deer, seated upon a moon-disc, possessing the radiance of the moon, and adorned with all ornaments. In the center is the yellow earth goddess, wearing divine garments and all ornaments, holding a vase in her hand, seated upon a moon-disc, and possessing the radiance of the moon, while she is surrounded on all sides by pretas. The five [deities] beginning with Indra hold a nāga-noose with their left hands, and all stand in the posture with the left leg extended. Above, upon the dharmodaya, are eight lotus petals. On the eastern petal is the white moon, mounted on a horse, wearing a white jeweled crown, holding a kumuda lily in his hand, adorned with all ornaments, seated upon a moon-disc, and possessing the radiance of the moon. On the southern petal is the red sun, holding a lotus with both hands, mounted on a yellowish-green horse, wearing a jeweled crown, adorned with all ornaments, and possessing his own seat and radiance. On the western petal is the yellow Bṛhaspati, mounted on a rat, seated upon a sun-disc, possessing the radiance of the sun, holding an arrow in his hand, and wearing a jeweled crown. On the northern petal is the blue Venus, possessing the radiance of the sun, seated upon a sun-disc, possessing the radiance of the sun, wearing a jeweled crown, and holding a śakti. On the Ishāna petal is the red Mangala, seated upon a sun-disc, possessing the radiance of the sun, with hair flowing upward, and holding a lotus.
On the fire petal is Bṛhaspati, intensely yellow, seated on a sun disc, possessing the radiance of the sun, and adorned with a precious crown, holding a sacrificial pillar. On the rākṣasa petal is Śani, black, with reddish-yellow hair, seated on a sun disc, possessing the radiance of the sun, and holding a trident. On the wind petal are Rāhu and Ketu, both black and smoke-colored, seated on sun discs and possessing the radiance of the sun. Rāhu holds a wheel of cyclic existence, having drawn it in and devouring it while leading it forth; Ketu holds his hands joined in the añjali mudrā. In the center of the hub is the four-armed, four-faced Brahmā, holding a triple staff and displaying the mudrā of fearlessness, while his remaining hands hold a rosary and a water flask. He is yellow, mounted on a swan, seated on a moon disc, possessing the radiance of the moon, and wearing the brahminical thread. Plump and short, with matted locks, he is surrounded by the Brahmakāyika, Brahmapurohita, Yāma, and Akaniṣṭha gods, and so forth.
Below, within the source of phenomena (dharmodaya), are the eight nāgas in the sequence of the intermediate directions: the yellow nāga Vāsuki, the white nāga Padma, the red nāga Karkoṭaka, the black nāga Takṣaka, the yellow nāga Śaṅkhapāla, the green nāga Mahāpadma, the pale white nāga Ananta, and the variegated nāga Kulika. These eight wear precious crowns, have human faces, are adorned with all ornaments, and have their heads marked with hoods. They are accompanied by asuras and the sentient beings of the hells.
At the navel is the nāga king Śeṣa, wearing a crown of white jewels, possessing a human face and a hood. Having thus stabilized them, they are once again transformed; through the union of body, speech, and mind, they are gathered and perfected. Those situated above should be visualized in the form of the Body, those in the center in the form of Akṣobhya, and those below in the form of Vajra Speech. For the sake of all activities, their hands and faces are likewise as they are in one's own self. One should apply the pride of the yoga according to the other activities; just as is the form of oneself, so it is for all. Following that, having exhorted them with the mantra oṃ pravārasatkārāya arghaṃ pratīccha svāhā, one offers the water for the mouth and presents the water for the feet at their feet with the nail-clipping mudrā. One should then make the request with idaṃ baliṃ bhuñja jighra and so forth, and also request the performance of the activity. Following that, with the songs of the intermediate directions, one recites the mantras of the Blessed One, the Blessed Lady, the circle of goddesses, and the wrathful deities. Preceded by the leading [mudrā], one rings the bell and brandishes the vajra, reciting oṃ akāro mukhaṃ sarvadharmāṇāṃ and so forth, and then: oṃ vajraheruka samayam anupālaya | vajraheruka tvam anupratiṣṭha | dṛḍho me bhava | sutoṣyo me bhava | supoṣyo me bhava | anurakto me bhava |
Sarva siddhiṃ me prayaccha sarva karmāṇi suca me | Cittaṃ śreyaḥ kuru hūṃ ha ha ha ha hoḥ | Bhagavān sarva tathāgata vajra heruka vajra mā me muñca heruko vajrī bhava mahā samayasattva āḥ hūṃ phaṭ. With this, those who have been satisfied should depart. In that regard, this is the mantra for the departure: Oṃ āḥ hūṃ phaṭ phaṭ phaṭ. Alternatively: Oṃ vajra muḥ muḥ muḥ. The syllable Oṃ is for the aspiration; the syllable Āḥ is for satisfaction; the syllable Hūṃ is for contentment; and the three syllables Phaṭ are for the withdrawal.
The goddesses are the valid authority, and the samaya is the valid authority; the words spoken by them are the supreme valid authority. By that truth, may those goddesses become the cause for my being cared for.
Those protectors who are equally attached to existence and peace, who have destroyed doubt and conceptualization, and who perceive all things from emptiness like space—with minds overflowing with the water of supreme, compassionate love—may the goddesses show me their affection!
Having begun with the six limbs and ending with the reality of the torma, this is the absorption known as the "Supreme King of Actions." Having arisen from that, one should visualize a multicolored lotus in the center of the dharma-sphere. Upon its petals are the eight lords of the eight classes. In its heart, one visualizes the seed-syllable. From the seed-syllable, one should meditate on the tip of the nāda as being as fine as a hair-tip, and contemplate the limit of the subtle in order to stabilize the mind.
By being accompanied by that, the mind will become stable without doubt. Through the mere stabilization of the mind, one should emanate the assembly of Tathāgatas and the assembly of Yoginīs, pervading the vast and infinite world-realms. From what source? From one’s own nimitta, one should contemplate the inconceivable Protector, the sovereign who possesses the nature of the maṇḍala and its retinue, radiating forth. As for the nimitta, it should be visualized as being the size of a thick mustard seed. This is the absorption known as the "subtle yoga."
Arising from that, if one again dons the two armors, one should walk about through the yoga of the coemergent Hevajra. Regarding the passage beginning, "With the form of Akṣobhya’s wheel," one should place Hūṃ on the head as a wheel, Hrīḥ on the ears as divine earrings, Jāṃ on the neck as a necklace, Aṃ on the arms as two armlets, Khaṃ on the hips as a belt, and Haṃ on the entire body as the body of ash. Thus one dons the armor through the ritual of the great oral instructions. Likewise, there is the armor beginning with, "In the eyes is Mohavajrā," and so forth.
The mantras for that armor are as follows: Aṃ Āṃ I Ī U Ūṃ. By means of these, the body is completely armored by Vajrayoginīs and Tathāgatas; that is the Blessed One. This is the second armor. Having donned this armor, the yogin of the coemergent Hevajra yoga should abide like a lion. Where? Within the house of the three worlds. Thus it is said:
This is the celestial mansion; it is not the three realms, nor are these living beings. These are the Victorious Ones. I am the Lord of the Mandala; I am not a human, not an object, not the sense faculties, and not the elements such as earth. I am the nature of reality (dharmatā) itself; I am not the forms and so forth. These and those are the mandala deities. The mind is equalized in the various mandala wheels; why then do you cause confusion?
Following that, whatever food substances have been prepared, if the yogi finds them, they should all be purified according to the previous ritual of tasting the nectar (amṛta) and then consumed after being consecrated with the three essences. Having described the ritual of eating, I shall now explain the abiding and moving channels in accordance with the Root Tantra:
"Craving, delusion, attachment, and anger,
And the act of play are to be abandoned.
Having thoroughly abandoned sleep and pride,
One should engage in the conduct without doubt."
Therefore:
"Having given the body as a gift,
One should then correctly commence the conduct.
Having examined what is fortunate and what is not,
For that reason, one does not practice generosity [in the ordinary sense].
Regarding food, snacks, and drinks,
One should eat whatever is obtained.
From the conceptualization of the desirable and undesirable,
One should not maintain grasping here.
The perfect union of the five families
Is analyzed as a single family.
Through one or many families,
No differentiation arises.
In a solitary tree or a charnel ground,
The virtuous meditation is explained.
In the house of a mother-goddess at night,
Or else at the edge of a place devoid of people."
If one wishes to engage in the conduct, it is when one has attained a slight degree of "heat." If one wishes to proceed to accomplishment, one should engage in the conduct by means of this conduct. Others also explain that "conduct" (caryā) refers to the root, and is thus called conduct because it involves moving, abiding, conventional expression, and behavior, as well as the ultimate. This is after having attained the supreme greatness. What is the meaning of "supreme greatness"? It is the attainment of a slight degree of heat. What is the meaning of this? It means that for a short time, one should practice in concealment in one's own dwelling, until such heat has been attained. From what source? From the words, "As long as the distinctions are not known." Once attained, freedom itself is the state of acting without formal arrangement or not acting at all. Then, when wishing to sleep during another session, one should sleep after first performing the yoga of the "separation from joy." At the time of rising, one should rise, exhorted by the songs of Pukkasī and the others, and act accordingly. By this sequence, one proceeds until the maṇḍala circle is attained. Then:
Without realizing the generation stage,
One does not know the completion stage;
Without realizing the completion stage,
It is not the generation stage.
Furthermore:
Relying equally upon the two stages,
The Vajra-holder taught the Dharma.
Thus, within the maṇḍala circle as it was taught: the single face is the purity of non-dual wisdom; the two arms are the purity of emptiness and compassion.
In the right hand, the vajra makes the indivisible wisdom (jñāna) clearly manifest. In the left are the skull-cup and the khaṭvāṅga; the khaṭvāṅga is the nature of insight (prajñā), and the skull-cup makes the bodhicitta clearly manifest. Likewise, the four arms signify the destruction of the four Māras. The single face is the pure, inconceivable wisdom. The vajra in the first and right hands makes the path of union clearly manifest. The skull-cup in the first and left hands is filled with the blood of the gods and asuras. By the term "gods and asuras," one refers to existence and non-existence. By the term "blood," one refers to that which has become such. By the term "filled," one refers to the attainment of that state. That is the skull-cup of a pure human. With the remaining hands, he embraces Vajravārāhī. Thus, the six arms are the purification of the six perfections (pāramitā). The three faces make the body, speech, and mind clearly manifest. The bell in the left hand is the purification of emptiness (śūnyatā). The trident signifies the cutting of the three types of ignorance. The vajra in the right hand is the purification of the wisdom of equality. The curved knife (kartṛkā) is also for the purpose of cutting away residual cognition. With the remaining hands are the curved knife and the skull-cup; such is the arrangement of the two-armed, four-armed, and six-armed forms. He stands upon a sun disk atop a corpse in the half-lotus posture (ardhaparyaṅka). The others are just as in the sixteen-armed form. The third [form] is also like that.
The glorious Saroruha-pāda briefly taught the sūtra; I, the one renowned as Jālandharipa, have explained it by relying upon his dharma. This brief explanation of the stages of complete purity was composed by Nandivajra. Through this, may all beings reach the glorious Vajra, the perfection of primordial wisdom.
This concludes the Vajrapradīpa-nāma-saṃkṣipta-vyākhyāna of the Śrī-hevajra-sādhana, composed by the master Saroruha-pāda and written by the accomplished master, the glorious Jālandharipa-pāda.
Having heard it from the paṇḍita Mañjuśrī, it was translated by the translator Nyima Gyaltsen Palzangpo.